Archives for posts with tag: Media

An overview of upcoming conferences and other research events which may be of interest to those researching embodiment and affect. 

by Victoria Grace Walden

 1) Being non/human discussion group in London, UK

An inter-disciplinary discussion group for postgraduate students and early career researchers. Possible topics could include, but are not limited to:

• The human as a distinct entity

• The posthuman

• The animal / ‘animot’

• Nature and Ecomaterialism

• ‘Thing Theory’, ‘Object Oriented Ontology’ – what does it mean to be an ‘object’ or ‘thing’?

• Metamorphoses, hybrids, monsters

• The nonhuman as an incorporeal being

• Automata, simulations, technology

 The initial call for papers has now passed, but for more information contact: being.non.human@gmail.com             

 

2) Trauma: Theory and Practice Conference, Prague, Czech Republic

Saturday 22nd March – Tuesday 25th March 2014

Themes include:

  • Public and Political Trauma
  • Personal and Individual Trauma
  • Diagnosing and Treating Trauma
  • Theorising Trauma
  • Representing Trauma

 300 word abstracts due by Friday 11th October 2013

Full draft papers due by Friday 17th January 2014

 For more information visit: http://www.inter-disciplinary.net/at-the-interface/evil/trauma/call-for-papers/

 

 3) 2014 Humanities Symposium, Affect and Inquiry at University of Iowa, USA

March 27th– 29th 2014

Call for papers about topics including:

  • The roles of technology and science in shaping the sensory dimension of inquiry
  • The affects of production, interaction, experience, and spectatorship in film, art and literature
  • Historiography, performance, sport, photography, psychology, sociology, and medicine
  • Anti-racist, queer, feminist, socio-economic, and postcolonial critiques of reason
  • Engage scholarship in local communities; engaged and experimental pedagogies
  • Interdisciplinary collaboration across methods, personalities and fields
  • Critiques of affect studies and the challenges of studying “precognition”

 Abstracts should be submitted to affectandinquiry@uiowa.edu by September 15th 2013

For more information visit: http://obermann.uiowa.edu/2013-2014-affect-and-inquiry/call-papers

 

4) Society for Phenomenology and Media, Furtwangen and Freiburg, Germany

March 12th– 15th 2014

Call for Papers which are organised around a specific media, for example: film, the Internet, mobile communication, medieval manuscripts, print media, stage drama, television, visual art, dance etc.

The Society for Phenomenology and Media encourages interdisciplinary approaches and theoretical diversity. Papers need not be limited to phenomenological approaches. Past papers have come from diverse theoretical perspectives, including critical theory, cultural studies, hermeneutics, Marxism, New Historicism, post-colonial theory, pragmatism, semiotics, speech-act theory, and others.

 Abstracts should be submitted by October 20th 2013

Papers accepted and presented are published in Glimpse, the annual publication of SPM.

For more information visit: http://societyphenmedia.wix.com/socphenmedia#!info

 

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Highlights and thoughts regarding embodiment, affect, film and media from this year’s conference

by Victoria Grace Walden

Conference director Phillip Drummond hospitably accommodated more than 150 speakers, including key note presenters professors Laura Mulvey and Toby Miller alongside Dr. Cathy Ross, Jeremy Black and film and television writer Joe Ahearne at this year’s Film and Media conference. Below I share just some of the highlights which refer to issues of affect and embodiment.

Dr. Cathy Ross’s (Museum of London) opening keynote on Thursday explored how the city museum incorporates new technology into its museum spaces. She discussed the museum’s augmented reality phone app which allows users to see “this spot in history” at certain places in the capital. Then explained how digital imagery and film were used in a variety of exhibitions, discussing the mixed reactions of visitors in some areas such as the slavery gallery and the Blitz.

Dr. Ross touched on how our perception and desires of museum spaces are changing. Visitors expect interaction and emotional experiences in museums and the more traditional “knowledge” online. This made me reflect: what is knowledge? Do we always have to consider it as a cognitive asset? Can becoming submerged in interactive experiences that provoke emotions and sensations not offer a corporeal form of “knowledge”? Are we moving into an age which we might define by this “new knowledge”?

Also, how do/ can we engage with affect and the historical in museum spaces though media? What are the limitations? What are the ethical implications? Are there any topics where the digital and moving image could be deemed inappropriate?

I’ll be focusing on some of these issues in a future blog after visiting some of London’s museum sites this summer.

Mason Kamana Allred (University of California Berkeley, USA)  spoke at the “Spectacles of History 1” panel about Ernst Lubitsch’s Madam Dubarry (1919) questioning whether cinema could offer a new form of history to traditional, epistemological and scientific representations of the past. He linked the work of Frank Ankersmit on sublime historical experience to the phenomenological ideas of Vivian Sobchack in order to explore a prelinguistic, subjective history that perhaps can be felt at the cinema.

Three other papers which particularly grabbed my attention and jointly encouraged me to think about my relationship with the screen were Dr Douglas Keesey’s (California Polytechnic State University, USA)  discussion of the illusion of choice and morality regarding death in the Final Destination franchise; Elena Wooley’s (King’s College, London)  paper on disaster movies and the use of surrogates) for suffering in films of the genre in order to translate terror into entertainment (such as spectacularly collapsing buildings rather than close-ups of human victims); and Dr Sian Mitchell’s (SAE, Australia) exploration of her experience of a delayed (or continuous) affect after watching Lars Von Trier’s Melancholia (2010).

These three papers raised questions about how I relate to bodies on screen. In the Final Destination films I discover, like the characters, I cannot cheat death. As such, the diegeses of the films extend beyond the frame as my understanding of real life is affected by the actions on screen. In films such as 2012 (Emmerich, 2009), I see only the protagonists up-close therefore connecting with the survivors. I never see the human extent of the catastrophe, yet the entire world seems to collapse around me. I leave the auditorium with an ecstatic sense of immortality – I have cheated death, I have survived the end of the world. In contrast, as the credits close on Melancholia I feel I have been cheated of death. As the beautiful closing light sucks the colour from the film and Wagner’s music crescendos neither reach their conclusion before the fade to black. The audio-visual image seems transcendental, but never allows me to fully submerge in its glory. As Dr Alex Ling (University of West Sydney, Australia) noted that’s because Von Trier is continuously reminding us that his films are only movies. This is Otherness, this is fantasy, this is not my experience to claim.

film and media conference film studies phillip drummond toby miller

 Phillip Drummond and Toby Miller at the closing key note

Image: Victoria Grace Walden